The exorcist who used Shurpu also used Maqlu, and the pairing is what makes each of them intelligible. Both survive in the same libraries, are copied by the same scribal tradition, and belong to the professional repertoire of the ashipu, a trained specialist with a curriculum rather than a folk practitioner. The choice between the two was a working judgement about the cause of an affliction, made on evidence, and the whole apparatus of Mesopotamian divination existed partly to inform such judgements.
That structure resists the usual modern division between magic and religion. The ashipu operated within the temple establishment, was literate in a scholarly tradition, prayed to the great gods and appealed to divine judgement. Nothing in his practice was clandestine, and the witch of Maqlu is condemned precisely because what she does is illegitimate while what he does is not. The distinction being drawn is not between magic and religion but between authorised and unauthorised action.
The atlas holds both series as incantations rather than as rituals for a reason that follows from that. Each is an attested text with manuscript witnesses, a transmission history and a critical edition, and it is the text that survives. The night's performance does not survive, and what can be said about it is inferred from the ritual tablet rather than observed.